http://cargocollective.com Aki Sasamoto Tue, 24 Jan 2012 18:32:42 +0000 http://cargocollective.com en http://cargocollective.com/akisasamoto/Centrifugal-March http://cargocollective.com/akisasamoto/following/akisasamoto/Centrifugal-March Tue, 24 Jan 2012 18:32:42 +0000 Aki Sasamoto 2668628 (2012) Why do certain objects seem to carry more importance over others? i am suspecting some exert gravitational force, based on one's memory of the dead. Imagining my after life as an object, i start to travel along centrifugal force to mock a transformation into an object. A wooden bead, diamond necklace, green jumpsuit, or poem on a restaurant napkin. Objects become Humans with its Centripetal Force. Humans become Objects with its Centrifugal Force. Image Slideshow <img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_18.jpg" border="0" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_18_o.jpg" align="left" /> <img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_07.jpg" border="0" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_07_o.jpg" align="left" /> <img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_31.jpg" border="0" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_31_o.jpg" align="left" /> <img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_08.jpg" border="0" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_08_o.jpg" align="left" /> <img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_09.jpg" border="0" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_09_o.jpg" align="left" /> <img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_25.jpg" border="0" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_25_o.jpg" align="left" /> <img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_29.jpg" border="0" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_29_o.jpg" align="left" /> <img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_22.jpg" border="0" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_22_o.jpg" align="left" /> <img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_10.jpg" border="0" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_10_o.jpg" align="left" /> <img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_32.jpg" border="0" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_32_o.jpg" align="left" /> <img src="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_33.jpg" border="0" width="670" height="446" width_o="1050" height_o="700" src_o="http://payload18.cargocollective.com/1/1/38538/2668628/CentrifugalMarch_33_o.jpg" align="left" /> Video Documentation (full) [Photo/Video: Daisuke Yamashiro] - Appearance - January 21-February 19, 2012 Omnilogue: Journey To The West Lalit Kala Akademi, New Delhi, India *Performance with ice blocks on Jan 21 & 22 http://cargocollective.com/akisasamoto/E_O http://cargocollective.com/akisasamoto/following/akisasamoto/E_O Tue, 27 Dec 2011 01:45:34 +0000 Aki Sasamoto 2507397 (2011) E_O represents ego without gravity. Using childhood nightmares and self discoveries through boxing routines as starting points, i explore the gaps between belief and perception of my self, and attempts to establish the inherent geometry of eyesight, the enneagram, and muscles. i think i am Green Giant, but sadly i apparently am not. Image Slideshow <img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_0.jpg" border="0" width="670" height="502" width_o="1000" height_o="750" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_0_o.jpg" align="left" /> <img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_1.jpg" border="0" width="670" height="502" width_o="1000" height_o="750" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_1_o.jpg" align="left" /> <img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_2.jpg" border="0" width="670" height="893" width_o="750" height_o="1000" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_2_o.jpg" align="left" /> <img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_3-jpg.jpg" border="0" width="670" height="502" width_o="1000" height_o="750" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_3-jpg_o.jpg" align="left" /> <img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_4.JPG" border="0" width="670" height="893" width_o="750" height_o="1000" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_4_o.JPG" align="left" /> <img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_5.jpg" border="0" width="670" height="893" width_o="750" height_o="1000" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_5_o.jpg" align="left" /> <img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_6.jpg" border="0" width="581" height="972" width_o="581" height_o="972" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_6_o.jpg" align="left" /> <img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_7.jpg" border="0" width="670" height="893" width_o="750" height_o="1000" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_7_o.jpg" align="left" /> <img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_8.jpg" border="0" width="670" height="893" width_o="750" height_o="1000" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_8_o.jpg" align="left" /> <img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_9.jpg" border="0" width="670" height="502" width_o="1000" height_o="750" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_9_o.jpg" align="left" /> <img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_10.jpg" border="0" width="670" height="502" width_o="1000" height_o="750" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_10_o.jpg" align="left" /> <img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_11.jpg" border="0" width="670" height="893" width_o="750" height_o="1000" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_11_o.jpg" align="left" /> <img src="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_12.jpg" border="0" width="670" height="893" width_o="750" height_o="1000" src_o="http://payload10.cargocollective.com/1/1/38538/2507397/E_O_12_o.jpg" align="left" /> [Photo: Take Ninagawa] - Appearance - October 13-16, 2011 Frame section in Frieze Art Fair Regent's Park, London, UK *performed twice a day in a solo booth exhibition -----scheduled----- September, 2012 E_O (solo show) Take Ninagawa, Tokyo http://cargocollective.com/akisasamoto/Beauty-Lines http://cargocollective.com/akisasamoto/following/akisasamoto/Beauty-Lines Tue, 09 Nov 2010 08:55:18 +0000 Aki Sasamoto 766855 (2010) Ancient Greek medicine understood the human body through the shapes of body parts and rhythm of the pulses, while ancient Chinese medicine focused on the flow of fluid and feels of the pulses.  One can see distinctly different bodies in one same body.  What constitutes our sense of health, norm, or beauty?  As a part of my big questioning about the condition(ing) of a body, I will explore the relationships between muscles, blood, sweat, and alcohol. How does aggression fit in the picture of beauty? The first day i was at the boxing gym, my trainer uttered only one English word. He said, "Listen to me," then he showed me moves without any help of words. But i understood. Or at least i felt confident i will understand faster this way. Pay attention to the rhythm of his feet, how to throw a punch from the heel and the hip, and all the subtle directions his body attempts to give me. As the rounds go by, I was using more senses. Must exercise the whole 'body' to understand and communicate. Image Slideshow <img src="http://payload.cargocollective.com/1/1/38538/766855/BEAUTY_RyanBeltrn.jpg" border="0" width="499" height="330" width_o="499" height_o="330" src_o="http://payload.cargocollective.com/1/1/38538/766855/BEAUTY_RyanBeltrn_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/766855/Beauty_C.jpg" border="0" width="498" height="328" width_o="498" height_o="328" src_o="http://payload.cargocollective.com/1/1/38538/766855/Beauty_C_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/766855/Beauty_B.jpg" border="0" width="500" height="330" width_o="500" height_o="330" src_o="http://payload.cargocollective.com/1/1/38538/766855/Beauty_B_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_A.jpg" border="0" width="499" height="329" width_o="499" height_o="329" src_o="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_A_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_B.jpg" border="0" width="498" height="330" width_o="498" height_o="330" src_o="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_B_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_C.jpg" border="0" width="498" height="330" width_o="498" height_o="330" src_o="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_C_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_D.jpg" border="0" width="499" height="330" width_o="499" height_o="330" src_o="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_D_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_E.jpg" border="0" width="500" height="330" width_o="500" height_o="330" src_o="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_E_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_F.jpg" border="0" width="497" height="329" width_o="497" height_o="329" src_o="http://payload.cargocollective.com/1/1/38538/766855/Beauty_Moscow_F_o.jpg" align="left" /> [Photo: Ryan Beltrán, Mary Rinebold, Aleksey Mikolaichouk] - Appearance - September 10, 2010 100 Years of Performance Garage Center for Contemporary Culture, Moscow, Russia September 28 - 29, 2010 Living Pictures & The Prompt Transart Festival, Bolzano, Italy *with additional support from Foundation for Contemporary Arts http://cargocollective.com/akisasamoto/Skewed-Lies http://cargocollective.com/akisasamoto/following/akisasamoto/Skewed-Lies Sun, 20 Jun 2010 18:52:13 +0000 Aki Sasamoto 473484 (2010) This is a story about mosquitoes and how much I hate them. This is a story about coincidences. This is a story about Comedian, Lies, and Masseuse. This is a story about petty crimes vs. noble crimes. This is a story about skewed positions. This is a story about... Masseuse is a mosquito, the Little Vampire. This is a story about underground vs. above-ground. This is a story about 3 deserts: Meringue, Flan, and Cake. 古い旧小学校の建物にあるボイラー室での発表を依頼され、湿り気のある湾曲した地下空間の特徴を生かした製作を試みた。小さなドラキュラのような 蚊の性格を持つ人を中傷しつつ、フランス劇作家ジャン・ジュネの自伝から膨らんだ犯罪論を表現。建物にあった古いパイプや机を改造して壁や天井に突き刺して、実際にそれらのモノから逆さまにぶら下がりながら、身近な交友関係を図解していく。 Image Slideshow <img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9301.JPG" border="0" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9301_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9313.JPG" border="0" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9313_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9336.JPG" border="0" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9336_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9375.JPG" border="0" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9375_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9378.JPG" border="0" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9378_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9394.JPG" border="0" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9394_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9400.JPG" border="0" width="600" height="400" width_o="600" height_o="400" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9400_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9404.JPG" border="0" width="600" height="400" width_o="600" height_o="400" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9404_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9412.JPG" border="0" width="600" height="400" width_o="600" height_o="400" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9412_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/473484/_MG_9440.JPG" border="0" width="500" height="750" width_o="500" height_o="750" src_o="http://payload.cargocollective.com/1/1/38538/473484/_MG_9440_o.JPG" align="left" /> Video Documentation (full) [Photo/Video: Arturo Vidich] - Appearance - May 23 - October 18, 2010 Greater New York: 5 Year Review MoMA PS1, Long Island City, NY (Room installation throughout the exhibition, with fifteen scheduled performances of Skewed Lies/Central Governor: Collaboration with Saul Melman) December 2 - 4, 2010 Make a monkey out of clay as a part of the program, CULTURED Design District, Miami, FL (Room installation in an empty retail space, with an evening performance each night) http://cargocollective.com/akisasamoto/Strange-Attractors http://cargocollective.com/akisasamoto/following/akisasamoto/Strange-Attractors Wed, 16 Jun 2010 00:03:40 +0000 Aki Sasamoto 460381 (2010) A Strange Attractor... It's a mathematical concept, where a trajectory of a graph seems to be attracted to certain point(s)/line(s)/plane(s) in a seemingly unpredictable manner. Does that exist in a life one experience? Can i observe that in my short life? And can i feel that math through my life? "Aki Sasamoto’s contribution to 2010, Strange Attractors, consists of the careful arrangement of sculpturally altered found objects and insistent repetitions of performances that alter and add to the feelings of the installation; the objects themselves provide guidance for the artist’s structured improvisation. Sasamoto demonstrates and develops a kaleidoscopic worldview out of deeply personal episodes and a hypothetical mapping of the universe. In an attempt to understand and feel the mathematical concept of strange attractors in dynamical systems, she jumbles her recent obsession for doughnuts, fortunetellers, hemorrhoids, and things detected in the world." Donuts, a video produced by Whitney Museum. 'Strange Attractors' by Aki Sasmaoto, a video interview by New York Times, T Magazine. 道端で拾って改造したモノ、スチールとプラスチックの彫刻、音声や動画用の機材、身体を綿密な計算に基づいて配置したインスタレーション作品。ビデオカメラが液体プラスチックで固めたコップの彫刻に混じってぶらさがり、観客やパフォーマーの動きを捉える。カメラも、人間も、テーブルにはめ込まれたプロジェクターも、皆動くように設計されている。ローレンツ方程式を中心にストレンジ・アトラクターと呼ばれる数学の概念が、空間構成ないしパフォーマンスのそこかしこに見え隠れする。パフォーマンスでは、占い師、ドーナッツ、痔に関する個人的な体験が、社会的兼数学的講義として語られる。会期中、方程式のグラフにヒントを得て、６と９がつく日に計１２回のパフォーマンスを実施した。　 Image Slideshow {image 1}things{image 2}{image 3}<img src="http://payload.cargocollective.com/1/1/38538/460381/_MG_8805.jpg" border="0" width="670" height="502" width_o="2048" height_o="1536" src_o="http://payload.cargocollective.com/1/1/38538/460381/_MG_8805_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/460381/_MG_8807.jpg" border="0" width="670" height="478" width_o="2048" height_o="1462" src_o="http://payload.cargocollective.com/1/1/38538/460381/_MG_8807_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/460381/_MG_8810.JPG" border="0" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/1/38538/460381/_MG_8810_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/460381/_MG_8804.JPG" border="0" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/1/38538/460381/_MG_8804_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/460381/_MG_8817.JPG" border="0" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/1/38538/460381/_MG_8817_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/460381/_MG_9033.JPG" border="0" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/1/38538/460381/_MG_9033_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/460381/Aki_Whitney.JPG" border="0" width="670" height="446" width_o="2048" height_o="1365" src_o="http://payload.cargocollective.com/1/1/38538/460381/Aki_Whitney_o.JPG" align="left" /> Video Documentation (5min excerpt) [Photo/Video: Arturo Vidich] - Appearance - February 25 - May 30, 2010 Whitney Biennial: 2010 Whitney Museum of American Art. (Room installation throughout the exhibition, with twelve performances on the selected dates that include the numerals 6 or 9, at 4pm, A.K.A. 16:00) December 18, 2010 - January 29, 2011 Strange Attractors (solo show) Take Ninagawa, Tokyo. *Performance scheduled on December 19, 26 and January 9, 16, 29 from 16oo hrs http://cargocollective.com/akisasamoto/AKI-SASAMOTO http://cargocollective.com/akisasamoto/following/akisasamoto/AKI-SASAMOTO Sat, 12 Jun 2010 21:26:46 +0000 Aki Sasamoto 460274 <img src="http://payload.cargocollective.com/1/1/38538/460274/IMG_0484b.jpg" border="0" width="670" height="446" width_o="709" height_o="472" src_o="http://payload.cargocollective.com/1/1/38538/460274/IMG_0484b_o.jpg" align="left" /> Aki Sasamoto is a New York-based, Japanese artist, who works in performance, sculpture, dance, and whatever more medium that takes to get her ideas across. Her works have been shown both in performing art and visual art venues in New York and abroad. Besides her own works, she has collaborated with artists in visual arts, music, and dance, and she plays multiple roles of dancer, sculptor, or director.  Sasamoto co-founded Culture Push, a non-profit arts organization, in which diverse professionals meet through artist-led projects and cross-disciplinary symposia.  Sasamoto's performance/installation works revolve around everyday gestures on nothing and everything.  Her installations are careful arrangements of sculpturally altered found objects, and the decisive gestures in her improvisational performances create feedback, responding to sound, objects, and moving bodies.  The constructed stories seem personal at first, yet oddly open to variant degrees of access, relation, and reflection. [Photo: Paul O'Reilly] http://cargocollective.com/akisasamoto/Works-from-2004-2005 http://cargocollective.com/akisasamoto/following/akisasamoto/Works-from-2004-2005 Sat, 12 Jun 2010 21:22:55 +0000 Aki Sasamoto 460457 DRAWN (2004 - 2005) Collaborative work created by lower lights collective: Matt Bauder, Kate Ten Eyck, Aki Sasamoto, Lily Skove, Dan St. Clair, Arturo Vidich A long migration; three performers get tangled up in piles of old wooden furniture in a dark basement. The performers and the furniture are interchangeable, taking on the qualities of the other, animating and being animated. Two sound artists use contact microphones to amplify sewing thread woven throughout the room like cobwebs; the performers rub the thread and produce wood-like groans. ニューヨーク市の初印象は、通りに古くなった家具がよく捨てられていることだった。前世紀に日本でそうしていたように、捨てられた粗大ゴミを家に持って帰って再利用することが多い。そうした暗黙の都市の習慣に注目し、友人達と何十もの家具を集めた。それらを絹糸で地下室の壁や天井に繋いで、コンタクト・マイクと結んで、空間を家具の琴にした。ダンサーの即興と、実験音楽家の即興が同時進行で繰り広げられ、最終的には部屋の中心にあった家具の山が、奥の吹き抜けまで移動して上階まで積み上げられる。 この作品は、ロウアー・ライツ・コレクティブによる舞踊家、彫刻家、音楽家の共同製作として発表した。コレクティブは、他２人の振付師と共に創始して、メンバーを増やしながら２００４年から３年間活動したグループで、ソロ作品を同じ空間で同時に行うという実験を繰り返した。　 <img src="http://payload.cargocollective.com/1/1/38538/460457/12_Aki_Sasamoto.jpg" border="0" width="670" height="435" width_o="1240" height_o="806" src_o="http://payload.cargocollective.com/1/1/38538/460457/12_Aki_Sasamoto_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/460457/19_AkiSASAMOTO.jpg" border="0" width="670" height="448" width_o="1240" height_o="830" src_o="http://payload.cargocollective.com/1/1/38538/460457/19_AkiSASAMOTO_o.jpg" align="left" /> [Photo: TJ Hellmuth] - Appearance - December, 2004 Fresh Meat Festival The Chocolate Factory Theater, Long Island City, NY January, 2005 Movement Research Festival Judson Memorial Church, NYC November, 2005 DRAWN (theater production) The Chocolate Factory Theater, Long Island City, NY Colossus (2004) Collaboration with Jeffrey Schiff In Colossus, a thimble full of water is delivered from inside the boots to distant electronic hot plates. While water evaporates, the deliverer improvise in speech about various thoughts on extravagant food. <img src="http://payload.cargocollective.com/1/1/38538/460457/Sasamoto_Aki05.jpg" border="0" width="576" height="409" width_o="576" height_o="409" src_o="http://payload.cargocollective.com/1/1/38538/460457/Sasamoto_Aki05_o.jpg" align="left" /> [Photo: Jeffrey Schiff] - Appearance - June, 2006 Water Project Exit Art, NYC Everything Chidambaram - Praying Project (2005) Collaboration with Jeffrey Schiff speaking freely as i wash Soap Sculpture by Jeffrey Schiff In Everything Chidambaram-Praying Project, the prayer continues washing with the large block of soap sculpture over hours. The monotonous movement of washing is in contrast with a improvised speech whose contexts jump freely to many directions. <img src="http://payload.cargocollective.com/1/1/38538/460457/Praying Project_1.jpg" border="0" width="533" height="355" width_o="533" height_o="355" src_o="http://payload.cargocollective.com/1/1/38538/460457/Praying Project_1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/460457/Praying Project_2.jpg" border="0" width="533" height="355" width_o="533" height_o="355" src_o="http://payload.cargocollective.com/1/1/38538/460457/Praying Project_2_o.jpg" align="left" /> [Photo: Jeffrey Schiff] - Appearance - April 15 - 17, 2005 Praying Project Exit Art, NYC July 5 - October 5, 2008 Freeway Balconies (group exhibition) Deutsche Guggenheim, Berlin, Germany (Video documentation of the performance in 2005) http://cargocollective.com/akisasamoto/cooking-show http://cargocollective.com/akisasamoto/following/akisasamoto/cooking-show Sat, 12 Jun 2010 21:11:13 +0000 Aki Sasamoto 460440 (2005) cooking show is a performance work about the bizarre fragmentation of the forms of cooking shows and cooking books, realized in a performance. To boil down the essence of cooking procedures, cooking shows and cook books change the order of things, zoom in and out of details, and insert refreshing information here and there. Translating proximity and reordering of procedures back into the live, my cooking show results in further isolation and distortion of the cooking procedures. The Long Utensils were made to be drawn out of the shaft way towards the basement, to cook up ingredients right in front of the audience members, and to be hung from the ceiling at the end. The impossibility of the long knife cutting a potato, or of the long fork reaching to cook with the flying pan up by the ceiling, is comical and recalls for sensation of such a mandane yet intricate act as handling a knife at a kitchen. cooking show was performed in the context of cram, an evening-length show by Lower Lights Collective at Chocolate Factory Theater, in November 2005. In cram, each member of Lower Lights Collective brought her/his own independent work, and overlapped it in the same space and time. The collage of individually developed pieces resulted in a rich composition. 料理番組のカメラワークや、料理本の解説の奇妙な段取りを、彫刻的な視点で誇張した。モノとモノの境界線を引いたり、パフォーマンスの動きを断片化することで料理の行程を要約した。又、カメラの角度やズームを、観客との空間構成や距離に置き換えた。長い包丁やおたまを駆使して、天井から垂直にぶら下がるフライパンでスパゲッティ・ポテトソースを調理する、というダンス作品。 このソロ・ダンスは、５つのソロ作品の同時進行を試みたロウアー・ライツ・コレクティブの舞台の一環として発表した。このコレクティブは、他２人の振付師と共に創始して、メンバーを増やしながら２００４年から３年間活動したグループで、ソロ作品を同じ空間で同時に行うという実験を繰り返した。 Image Slideshow <img src="http://payload.cargocollective.com/1/1/38538/460440/sasamoto_a_01.jpg" border="0" width="670" height="444" width_o="1024" height_o="680" src_o="http://payload.cargocollective.com/1/1/38538/460440/sasamoto_a_01_o.jpg" align="left" /> things<img src="http://payload.cargocollective.com/1/1/38538/460440/Sasamoto_Aki02.preview.jpg" border="0" width="640" height="479" width_o="640" height_o="479" src_o="http://payload.cargocollective.com/1/1/38538/460440/Sasamoto_Aki02.preview_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/460440/03_Aki_Sasamoto.preview.jpg" border="0" width="640" height="479" width_o="640" height_o="479" src_o="http://payload.cargocollective.com/1/1/38538/460440/03_Aki_Sasamoto.preview_o.jpg" align="left" /> [Photo: TJ Hellmuth] - Appearance - December 2005 DRAWN (theater production) the Chocolate Factory Theater, Long Island City, NY (cooking show was made during and for an artist residency program with a weekend of evening length theater program) http://cargocollective.com/akisasamoto/feedback http://cargocollective.com/akisasamoto/following/akisasamoto/feedback Sat, 12 Jun 2010 21:06:38 +0000 Aki Sasamoto 460434 (2005 - 2006) One night, I attended a very awkward dinner with associates of my former classmate’s boss. It was a formal dinner with many forks and knives. In fear of having my manners tested, I forgot the sensation of my tongue. Afterward I could recall the look of the cutlery more than the taste of the meal. And even though it was an exciting opportunity to meet strangers who I would not have met, the awkwardness overpowered the excitement. Things did not roll well. Although they shared the same bottle of wine, the conversation at the table was so disjointed; one was interested in banking/power, another in international understandings/creative education. This dinner experience left me with a startling mixture of formal apprehension, and the sexiness of a first encounter. The awkward encounter over food inspired me and I created a sculpture that invites interaction and performance. The sculpture consists of a found table with sculptural modifications and a two-sided fork. The table is cut in half and separated. Embedded in each side is a radio with headphones and a plate of spaghetti sunken into the tabletop. Performances are a series of dining experiences between the artist and invited guests. The artist asks a stranger to dine with her.* The two stand at both ends of the table sculpture and eat and speak till they finish their meals. Viewers may notice the performance happening and come close to the performers to hear the disjointed conversation they are having. *The artist gives three instructions to the diner: 1. Collaborate to finish eating the pasta. 2. Entertain each other by speaking continuously as you listen to the radio. 3. Do not speak when food is in your mouth. Ultimately, whether formal or casual, we go to social situations with the hope of a good conversation. Even though we cannot hear each other. テーブルセットには、料理されたばかりのパスタとヘッドホン付きのラジオが組み込まれている。アーティストに道端でスカウトされた参加者は、テーブルを挟んで立ち、食事が終わるまで話をするように頼まれる。２つのフォークはスチールで繋がっていて、シーソーのように協力しないと食べれないようになっている。会話内容は、それぞれの聞いているラジオに影響を受け、必然的にちぐはぐとなる。例えば、一方が天気の話をしている際、他方が流行歌の話をしている。社交の場での、ぎこちないテーブルマナー。 Image Slideshow <img src="http://payload.cargocollective.com/1/1/38538/460434/14_Aki_Sasamoto.jpg" border="0" width="670" height="502" width_o="1240" height_o="930" src_o="http://payload.cargocollective.com/1/1/38538/460434/14_Aki_Sasamoto_o.jpg" align="left" /> things<img src="http://payload.cargocollective.com/1/1/38538/460434/feedback16.JPG" border="0" width="670" height="502" width_o="1600" height_o="1200" src_o="http://payload.cargocollective.com/1/1/38538/460434/feedback16_o.JPG" align="left" /> <img src="http://payload.cargocollective.com/1/1/38538/460434/16_Aki_Sasamoto.jpg" border="0" width="670" height="502" width_o="1240" height_o="930" src_o="http://payload.cargocollective.com/1/1/38538/460434/16_Aki_Sasamoto_o.jpg" align="left" /> [Photo: Yuka Yokoyama, Tsubasa Narita] - Appearance - April 1 - 8, 2006 MFA 1st Year Show Wallach Art Gallery, NYC (feedback - lunch: Installation exhibited for two weeks and a lunch performance everyday) July 2006 Wild Nights performance (performance) Exit Art Gallery, NYC (feedback - dinner: Performances over a weekend) December 7, 2006 - January 27, 2007 Tokyo-San Francisco Art Festival (group exhibition) The Lab, San Francisco, CA (feedback - 3: Performance at the opening and its video documentation and sculpture through out the exhibition) http://cargocollective.com/akisasamoto/remembering-modifying-developing http://cargocollective.com/akisasamoto/following/akisasamoto/remembering-modifying-developing Sat, 12 Jun 2010 21:03:09 +0000 Aki Sasamoto 460424 (2007 - 2008) remembering/modifying/developing is a musical belief-making system. It consists of three parts; a series of repeated and changing performances that are live and broadcasted as video afterwards; a sculptural installation that shifts its appearance every time I perform; and lastly, the sounds produced in each performance added to the sound from the previous time, creating denser and denser musical belief. I re-inhabit the physical and psychological patterns of this performance over and over again. <img src="http://payload.cargocollective.com/1/1/38538/460424/YokohamaCataloguePhoto.jpg" border="0" width="460" height="337" width_o="460" height_o="337" src_o="http://payload.cargocollective.com/1/1/38538/460424/YokohamaCataloguePhoto_o.jpg" align="left" /> Statement on remembering/modifying/developing Everyday activities i am committed to have stains here and there, silently roaring secret codes of personality. i am interested in procedures, gestures, and habits in daily life, which are so constant that minute differences in their execution expose the condition of people’s mental state or environment. Memory: i was put in a mental hospital once. i was eighteen, studying at a prestigious international school in Wales. Physical violence and faint memory of the past were the reasons for this operation. There was no way out since i could not contact with my parents in Japan at the time. i ended up spending weeks in the hospital ward until i was allowed out. My experience in the hospital was intense and striking. It left me vivid memories of all the habits other patients had; The lady next to me woke up at 3 a.m. to scream her fear of evil; The one behind her spent most of the time looking out of her window and sobbed when she watered her geranium; Just outside was the only public phone, which the drug-addict man punched till it broke both his hand and the body of this phone; The old man in the wheelchair circled his pointing fingers around each other all the time; Every time he saw me, he proposed a marriage to me, to which I responded, “i am gay.” He was a man of Astronomy. His fingers rotated around each other, with their movement as constant as planets in their orbits. So i secretly named him Planetary Man. One day i discovered the floor pattern of Planetary Man. A regular triangle emerged by drawing lines between the places he went: his ward, the bathroom, and the dining room. He orbited among these three places everyday with his constant satellite fingers. And the center of the triangle was my ward; no wonder why he gravitated towards me. Being in a public hospital in deep Wales meant having tea several times a day. Nurses gathered us at the dining room, and systematically provided each patient with a cup of thick brown tea and a couple of biscuits. The biscuits they had were either buttery ginger biscuits (cookies as called here) or plain chocolate ones that did not taste like cocoa at all. It was in the third week of my stay at the hospital when consistency of habits was challenged. On this day, on the whim of whatever-whoever, there were cream-sand biscuits at the second teatime. For this unheard of event, everybody got out of their chairs and rushed to the unpopular staff with teacups, and reached out their arms for the first serving. While there was a crowd around the serving table, a couple in wheelchairs were left behind at the edge of the room. At the moment of separated population, Planetary Man’s fingers, which were so constant in my life there, broke out of their orbit. His arms for the first time extended fully, his fingers broke out of the state of gravitational equilibrium, and his calling for “cream-sand biscuits!” pierced the room. Boredom and fascination come hand in hand in our daily activities. i constantly believe in and doubt how the world around me functions. i thought, i think. i think i thought that his fingers orbited around each other like satellites. Yesterday they did. Or not. Modify: The performance/installation work, “remembering, modifying, developing” is a musical belief-making system over the period of time. i have created several movement motifs out of personal logic, which may equate or repel common knowledge of meanings behind actions. The sculptures with different degrees of alterations occupy the installation space, also teetering on the edge of their symbolism. When the performer is not there, the objects breathe with possibility of movements and interactions among them. The performer feeds energy into the objects everyday, adding the boring and fascinating history between a person and her environment. The sound of this piece shadows “cream-sand biscuits.” The performance is recorded through moodily focused cameras hung from the ceiling. The cameras capture movements and stillness of the objects and the body, simultaneously recording the sound made in the space. Another performer, the archivist of the sound history, plays the sound of yesterday’s performance back into the performance space, together with her/his new commentary on the live broadcast of the camera input. S/he may grab strangers once in a while to interview them, or with whom to make responding sounds. The sound of the objects, performer, archivist, and random witnesses accumulate over three weeks, and replays a density of experience around personally symbolic objects and actions. Developing: i am interested in continuous life of art production. Artwork is a byproduct of life. i am interested in being in the middle of art making. In the thick of imaginative art, boredom and fascination come hand in hand. In the thick of imaginative life, i breathe, relentlessly feeding energy into the system of this world. i have to be in motion, to wait for rapture. My gaze at the world is loving but filled with fear. i try to hide my focus, but at the corner of my eyes, i show too much intention to observe. i hide. i want to hide. i want to run away. Everyday activities i am committed to have stains here and there, silently roaring secret codes of personality. i am interested in procedures, gestures, and habits in daily life. They are constant. Minute differences in their execution expose the condition of people’s mental state or environment. 「動き」の既存の意味と投影された感情、又は変換された「もの」と象徴の境界線を行き来して、それらのズレを発見したい。そう思って、毎日繰り返すパフォーマンスを通して、人の癖や習慣を吟味する場所として、このインスタレーションを作成した。即興の要素が強く、幾つもの彫刻とパフォーマンス作品が共存するなか、展示室や観客に応じてそれらの配置や順序も変えられていく。　 天井から吊るされたモビールに組み込まれたビデオカメラが気ままに動いて、物と身体を映像と音として捉える。もう一人のパフォーマー「記録者」が前日の 収録音を再生し、当日の音に周りの人へのインタビューや自分の意見を重ねてい く。こうして、物、パフォーマー、記録者、傍観者等の音が蓄積していき「も の」と「動き」の厚みが再生される。この作品は音楽的信念形成装置である。 [Photo: Mineo Sakata] ---- - Appearance - Equations of r/m/d history: January 2007 CRAM (theater production) the Chocolate Factory Theater, Long Island City, NY (3 performances in evening length production at theater) + Camera Mobiles + layering the sound + concept of Archiving = May 2007 MFA Thesis Exhibition (group exhibition) Christie's, Rockerfeller Plaza, NYC (Installation on view for two weeks and a performance everyday during the exhibition weeks) + hanging TV monitors + utilizing the old sound - Archivist = March 2008 Performative Identity (group exhibition) Kathleen Kullen Fine Arts, NYC (Gallery installation on view and a performance at the opening) + adopting a travel + more elements + musical inputs + remaking all the parts + Archivist + dispersed Japanese words = September - November 2008 Yokohama Triennale 2008: Time Cravass NYK BankArt, Yokohama, Japan (Installation on view for 3 months and 7 performances during the opening week) - every objects - body + edited documentation with footage from camera mobiles = July 3, 2010 Whenever Wherever Festival Asahi Art Square, Tokyo, Japan (Video loop on a monitor)